David Spencer2015-03-31T18:35:12-04:00David Spencerhttp://www.huffingtonpost.co.uk/author/index.php?author=david-spencerCopyright 2008, HuffingtonPost.com, Inc.HuffingtonPost Blogger Feed for David SpencerGood old fashioned elbow grease.Hodgson Pays Price for PC Culturetag:www.huffingtonpost.com,2013:/theblog//3.41361022013-10-21T12:58:30-04:002013-12-21T05:12:01-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
Thankfully the FA acted relatively quickly and Greg Dyke's clear endorsement of Hodgson meant the story was shutdown. Well sort of. Still on Friday, Andros Townsend was being asked about it - clearly saying no offence was taken and that the idea behind the joke was actually a compliment. But this is a typical example of the type of over reaction to comments that we are increasingly seeing. Recently we had the ridiculous situation of Robbie Fowler having to apologise for his 'fighting like girls' comment on Match of the Day.

Just a week after Fowler's comment - I heard a female panel member say the same thing on Radio 5 Live's Fighting Talk. So is it okay for a woman to say it but not a man? The same week Harry Redknapp was quoted in The Times talking about how he had seen public school kids playing football and that he could not tell whether they were boys or girls because they were so bad'. To me, the Redknapp comment is actually far worse. Yet it was a quote from an interview that The Time felt it was OK to publish.

Redknapp's comment underlines his ignorance, while Fowler's was the use of an expression that many people use without any agenda. The difference might be that Redknapp is a media darling while Fowler less so. What Fowler and Hodgson's apologies show though is just how delicate people can be. But this over-sensitivity can do more harm than good. In the end you sanitize people to the extent that they up being like Alan Shearer and Mark Lawrenson - and saying nothing at all.

In Hodgson's case the use of the word 'monkey' was perhaps ill-advised but for Kick It Out to start making noises about the comments only drew attention to it. I would imagine the England manager was mortified to hear some of the criticism. The argument is often that if someone is offended - then the remark must have been offensive. That is a ridiculous stand point and completely unworkable and unrealistic.

When Alan Hansen said 'coloured' instead of black on Match of the Day last year, he was criticised rather than vilified. It was a poor mistake to make for someone well educated but easily done, when moods and attitudes change to certain words. I still find it hard to use the word black directly to someone of colour - because when I was at school you were told to say coloured not black. That does not make me a racist - in the same way it did not make Hansen a racist.

Controversially it is my view that everyone has some prejudice - whether sexist or racist - but the way to deal with that is being more open and not suppressing debate. Encourage discussion and people become better informed and respect each other more. However the Fowler and Hodgson stories do not encourage debate - they suppress it, by being over sensitive and leave people confused about what they can and cannot say.]]>Arctic Monkeys - AM Reviewedtag:www.huffingtonpost.com,2013:/theblog//3.39772332013-09-23T17:14:25-04:002013-11-23T05:12:01-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
For many of the younger fans Alex Turner grew up too quickly - maturing into a crooning rock singer, before they were ready to let go of the firey and cheeky, Yorkshire-accented star of the Dancefloor. It may be that Turner and his band grew up before their fans did. From those early days though, it was always clear they were a cut above other British bands - and Arctic Monkeys' trajectory was always going to quickly take them from Sheffield to America - where the musical boundaries seem much less limiting. For Suck It And See, there was a good helping of LA sunshine, for the band's poppiest album but here that shinier sheen has been mixed with a touch of Humbug's dirtier desert grooves. But unlike on Humbug, the production hasn't squeezed the life out of most of the tunes.

Of the tracks that previewed the album - Do I Wanna Know is the better indication of what to expect, with its perfect guitar riff, sensual groove and languid poetry. It is possibly the band's best song since Bet You Look Good On The Dancefloor - while R U Mine's slightly frenzied mood seems out of place here. Do I Wanna Know's lyrical themes also dominate the album, with Turner's apparent infatuation with a mystery woman - his ex is keeping him up drinking all night (Do I Wanna Know), annoying him with messages when she's wasted (Why Do You Only Call Me When You're High?) and taking him to back to her place in the early hours (One For The Road). The subject of his tortured desires is maybe Arabella - who is name checked on one of the album's rockier moments.

Perhaps it is deliberate but AM might not be a reference to the band name but to the time of day when this album should be listened to - with an overbearing sense of late night. Darkness and the early hours are often referenced and the music moves from raunchy grooves on the opening Do I Wanna Know? to guilty desires on the sublime closer I Wanna Be Yours - just like those unforgettable late nights that you never want to end. In between there are all the classic Arctic Monkeys hallmarks - clever lyrical observation ("...in my heart there's this hotel suite and you lived there so long..." on the terrific Fireside), top class drumming from Matt Helders and Turner's extraordinary flair for expressive singing; he has the ability to sing with a rhythm that normally the very best rappers achieve. But not to be underplayed is the backing singing from Helders and the band. There are many "shoo waps" that work splendidly to supplement Turner's prose.

No1 Party Anthem is a typical Arctic Monkeys ballad with a nod towards Cornerstone (from Humbug) while Why Do You Only Call Me When You're High proving that Turner has been listening to Dr Dre in the making of AM; the grooves come right from that genre and underline why they are a band way ahead of the competition.

The album is not perfect though (the T-Rex 70s rock of I Want It All for example) - and there's a fall in pace mid way through that is saved in spectacular fashion by Fireside which begins the final sweep of five songs that ARE almost perfect, with the poppier Knee Socks and Snap Out of It leading to the gorgeous conclusion of the band's musical interpretation of the John Cooper Clarke poem I Wanna Be Yours. As the Mercury nomination proves, this is still a classic Arctic Monkeys album. No one can touch them for modern rock music - and even though some of the early sparkle has been lost, the fire is very much still raging - and they are a band we Brits should be very proud of.]]>Breaking Into the Mediatag:www.huffingtonpost.com,2013:/theblog//3.38198692013-08-26T21:27:52-04:002013-10-26T05:12:01-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
You also need to answer this key question - what do you mean by media? Many people say they want to be 'in the media'. But what does that mean? Do you just want to be on TV? Or do you want to research and write stories? Are you excited and interested in news or sport? Maybe you would like to work in comedy or drama? The variety is huge and not just about being a celebrity - which sadly many people think about when talking about the media.

If the career you are looking for is in radio - there are many really good, high quality courses that you will hope to get on - but competition is tough.

If you fail to make one of the top universities - you might consider studying a more traditional and solid degree, that gives you a foundation in the basic journalism skills - research and writing - like History or English. At the same time as doing the course you should explore voluntary radio opportunities, such as student radio or community radio to advance your understanding and give you some proper practical knowledge.

Even if you get yourself on one of the top courses you should do this. Often universities don't have enough time to focus on certain aspects or skills - like voice training as example. Using your voice is obviously fundamental to radio and there is never enough voice training you can do to perfect your 'on air' sound. Sessions I have carried out with students have transformed their understanding and sound - and also helped with confidence.

Everyone is unique in what they need to work on and develop but practical training and experience cannot be beaten. Whether you dream of being a radio newsreader or a radio presenter, you will need to gain confidence in your 'sound'. Everyone can do it with a bit of help and advice. Whatever course you decide to do to try and achieve your goals - always think about what else you can do to help make yourself stand out. Remember - nothing beats practical experience. Nothing.]]>Lydia Baylis Interviewtag:www.huffingtonpost.com,2013:/theblog//3.38198002013-08-26T20:18:35-04:002013-10-26T05:12:01-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
At 24 I ask Lydia where she has been - and why it is only now that she is going full throttle to launch her career.

"I had to find myself creatively. It has been a journey, a progression. I felt I needed to take the time to get there. Physically as well as mentally. My voice itself for example - I started having singing lessons and figuring out how I wanted to sound. The songs that I wrote when I was 18 - were a lot more folky. But I have always been drawn to a darker, electronic sound. A lot of it (the wait) was down to finding the right producer. You have to have a conversation and dialogue going on about what you want to sound like."

She ended up working with Richard Cardwell as a co-writer and then producer, as well as Owen Parker.

"They are both very interesting musicians - and they saw very early on the kind of thing I wanted from it. They gave me the confidence to explore, musically and lyrically. They saw that I wanted to be more than a blonde girl with a guitar. For example, I will always now use an electric guitar rather than acoustic when on stage. They breathed a bit of imagination into it."

Lydia is candid about her development and how she wants to be more than the standard singer songwriter penning songs about relationships.

"I have always been drawn towards thematic and darker music - so lots of the lyrics have that feel to them. But it is completely down to the individual to think what they want to about a song. Mirrors (her first single) could be a dream, could be about obsession, or could be about madness. That's why I am calling the album A Darker Trace. It started when I started reading more gothic novels and one of the songs is about Virginia Woolf, and how tragic her life was. So there's a lot of those kind of themes that I am drawn to."

Mirrors, reviewed here on Music News, is a brooding single that has cinematic feel.

"We spent a long time listening to different guitar sounds, and we wanted Mirrors to have this water theme - like the sound of ripples."

Away from the first single Mirrors, an early EP also features an intriguing take on Black's Wonderful Life.

"I remembered the song from my parents playing it - because they loved it. But it was on reading the lyrics that I decided I wanted to cover it because it meant to me something completely different to how I had imagined before. The lyrics are desperately sad in the verse but the overarching feel is of happiness in the chorus. Because it was from before I was born, I felt I could treat it differently. I liked the fact is was sung by a man too and I wanted to try and make it my own. It's a beautiful song. I hope we have done it justice."

So can we expect more cover versions?

"Joni Mitchell is an influence but like Fleetwood Mac - another band I love - it's a no go area. I would have to steer clear of them to be honest. I would not want to stamp my mark as a cover version artist anyway."

It is fascinating discussing music with Lydia, she has an intense and gently confident attitude that hints at someone determined to get where she wants to. She is clearly open to learning.

"I love watching live music - and every time I watch someone on stage, I take away an incredible lot about stage craft. I went to see Wolf Alice recently. They have an amazing female singer and nothing was going right for them - sound problems, instrument issues. But they handled it brilliantly and I thought I will take this away from tonight and remember it, if I ever encounter the same problems."

With that we leave the discussion for now - and I promise not to be late for our next conversation. My terrible time keeping has probably left a bad impression on Lydia. She though has left me with the distinct impression that we are about to see a lot more of her.

Hear more of the interview here: ]]>Justin Currie - Lower Reaches Reviewtag:www.huffingtonpost.com,2013:/theblog//3.38197692013-08-26T20:15:20-04:002013-10-26T05:12:01-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
The opening Falsetto's harder and darker guitar chords typify that, with an emotionally charged reflection on an overbearing father. It oozes class - while the album's finale features Currie coming close to the aforementioned falsetto, as Little Stars pushes his vocal range further than it's been pushed before. The song's exquisite description of two lovers, working their way through life is both tragic and beautiful. Falsetto and Little Stars book end the ten tracks here, and they are the best two songs.

Lower Reaches was recorded in Austin, Texas - and the evidence of the surroundings are clear, with the country-tinged Bend To My Will, which is the most Del Amitri like track here. It has a gentle opening followed by an instantly singalong chorus and contains a classic piece of Currie observation - "and I feel my body going south so I take the scenery in". Those moments of wry and humorous observations are slightly less in evidence here than on his previous solo outings - but the music is certainly more adventurous, as the Tom Petty-like On A Roll proves or the equally country-rock sounding I Hate Myself For Loving You. Both have a seemingly deliberate heavy bass mix - which works well against Currie's vocal.

The country theme is hammered home with On My Conscience - with its slide guitar and jaunty rhythm - in a tale of emotional revenge. While that is a fun interlude - the most instant track is Every Song's The Same, an almost perfect two and half minutes of Justin Currie at his very best. It touches you in the head and the heart in equal measure. Two tracks are slightly tainted by the use of a programmed drum, with neither Prescilla or Into A Pearl greatly benefiting from it. Better is the bleaker Half Of Me's emotional turmoil, which is backed by a dark piano and keyboard refrain under a warning to fans; "Half of me is ready to retire, but half of me is still riven with a fire".

It seems unlikely that Currie is thinking about hanging up his boots just yet though - as despite his utterings and grumblings, he is still very much on top of his game. However there might be a break from the solo material for a time, as a recent publicity photograph hints at a reunion with Iain Harvie from Del Amitri. He may find that like his fellow Glasgow singer James Grant (lead singer of Love & Money) that reforming the band that made your name, reinvigorates you. Before then Currie is on the road again in September, with solo dates across the UK.]]>Counting Crows - Live reviewtag:www.huffingtonpost.com,2013:/theblog//3.31533932013-04-25T07:17:02-04:002013-06-25T05:12:01-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
After a surprisingly impressive warm up from young Brit singer Lucy Rose (who sounds constantly in awe and in shock over playing such a large venue), one of America's more interesting rock bands of the last two decades appears on stage to the gently building keyboard and guitar sounds of Sullivan Street from their first (and best) record August and Everything After. That album made the band one of the biggest at the world, with a Rolling Stone covershoot, and the subsequent fame left Duritz struggling to cope. He seems much happier twenty years later.

Counting Crows' live are also always good value because of Duritz's passionate story-telling style of singing; he throws everything into each song. He is also fully aware of his own vulnerability - the fine line his mental state constantly treads even now. He tells the audience at one point that Sessions is about the difficulties of being a rock singer. "A bit like most of the songs" he adds.

Fans know that with Counting Crows, that no live show ever feels the same, with the band changing set-list regularly and introducing other people's songs into their own. It means that even when their older songs are performed, there is something new to hear, like Rain King's venture into Elbow's Lippy Kids; while Goodnight Elisabeth features The Velvet Underground's Pale Blue Eyes.

There is very little chat, which Duritz later explains is a good thing as he ends up talking crap otherwise. Therefore the almost two hour set is packed with a range of songs from across their six studio albums. The pick are Omaha, a welcome appearance of A Long December and the tender Colorblind, with the rockier elements coming from the likes of Hanging Tree and the excellent Recovering The Satellites. They might not be making the front cover of Rolling Stone anymore, but there is still a place for Counting Crows - and these fans will hope Duritz is good on his promise to be back soon.]]>Mentoring in Media - A Graduate Lessontag:www.huffingtonpost.com,2013:/theblog//3.31533422013-04-25T07:15:39-04:002013-06-25T05:12:01-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
Back then I was doing a media course at what is now Thames Valley University, getting my English and Communications A Levels alongside it. Access to university was not as easy as it is now and I think the City and Guilds qualification would not have been enough to get me 'in' to a radio station had it not been for the wonderful Val Handley, who was running the newsroom at the newly launched STAR FM in Slough.

Myself and another student (Philip Chryssikos) volunteered to help out in the newsroom and on shows - and basically didn't go away for six to eight months before both being given jobs - presenting the evening show and reporting for the news team. By showing some enthusiasm and having a bit of talent, our careers were launched. Philip and I have gone on to have great success in the industry in big radio stations and newsrooms - and a large part of that is down to Val's offer to us.

In 2013 such opportunities are rare. Most people recommend embarking on a university degree course, even if you want to be a presenter. But even once that course is completed and you have your qualification, entry into the industry is difficult. Media is very much about who you know alongside what you know. Never has that been more important. With most people going to university, a degree no longer marks you apart. You need to shine in a hugely competitive market.

That's why I have developed Media Mentor; to help people who are just starting in the industry make some contacts but also help them understand the market place and the types of skills that fit certain jobs. It is also a hugely valuable sounding board. Being able to speak to someone who is independent can make a big difference. I have people coming to me who are just starting to people who have 20 years experience. A neutral ear is always useful.

We are churning out thousands of media graduates each summer, yet there just aren't enough jobs out there. To stand out from the crowd you need to do things differently - and unlike twenty years ago, there are very few stations offering you the chance to come in and learn. I ran a sports show with a team of 10 helpers - many have gone on to be front line broadcast journalists. Those opportunities just don't exist now. The argument is whether the talent comes through in the same way; that old chestnut about learning on the job or learning from a book. In radio, there is nothing better than doing it to learn. That way you soon find out whether you have it or you don't.

Mentoring is a great way to find that out and develop your skills at the same time. It is why SKY, the BBC and other media outlets have started offering staff a mentor programme. We are glad we thought of it first.]]>The Jam - Album Box Settag:www.huffingtonpost.com,2012:/theblog//3.23591882012-12-24T10:37:39-05:002013-02-23T05:12:01-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
The Jam are very much in the former category and 30 years after the band controversially called it a day - all of their albums have been released in a box set. It's a chance to listen to the remarkable progression from 1977 to 1982 over six increasingly impressive albums.

Released within the space of a few months of each other In The City and This Is The Modern World are cut from the same cloth, raw British rock with a sixties feel - with Paul Weller sounding narky and about to start a pub brawl at almost everyone corner. But hearing Batman reminds us Weller did once seem to be enjoying himself, and not always taking himself too seriously, while Modern World's Tonight At Noon displays early signs of a melodic ear.

That melody appreciation begins to come to the fore on 1978's All Mod Cons, which was the lift off towards eventual legend status for the band and Weller. The raw playing is still there but the vocal is more soulful on To Be Someone for example, with its talk of aspirations about being number one. Hit singles Down In A Tube Station At Midnight and David Watts helped break America and sees Weller's confidence soar.

Ambitions grow with the part concept album Setting Sons a year later. Once strings arrive on a band's palette, you know bigger things are intended and the likes of Smithers Jones reach beyond the band's previously drum and guitar dominate sound. The Eton Rifles produced their biggest hit single to date and The Jam were suddenly the nation's favourite.

Starting a trend that has repeated itself over the course of his career, Weller then throws a slight curve ball and Sound Affects arrival in 1980 saw the singer looking at the likes of Michael Jackson's Off The Wall for inspiration. Weller considers it possibly his favourite Jam album and the maturing song writing is evident in classics like That's Entertainment and the Beatles pilfering Start, while Dream Time and Music For The Last Couple have a wonderful bass driven funk.

Just as the band were at their peak, Weller pulled the rug from fans' feet with The Gift being The Jam's last album - as the tension it caused between the three members became too much. Possibly their best album and surprisingly their only number one, the transition to the soul and pop of The Style Council now does not seem such a leap. You can hear those influences on Precious and Circus as reggae and dance rhythms arrive. For those that had been on board since In The City it was all a bit much but it was the start of an amazing career for Weller, who still to this day manages to delight and surprise.]]>Review of Jeff Wayne's War of the Worlds - London's O2tag:www.huffingtonpost.com,2012:/theblog//3.23114882012-12-16T10:58:51-05:002013-02-15T05:12:01-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
Of course, like football managers suddenly given lots of money to spend - how you spend the cash, not much of it there is, is the most important thing. Since those first shows six years ago, the show has moved on considerably, with explosions, fire effects and of course a new cast - or the New Generation. Most notably Liam Neeson takes over the role of narrator from Richard Burton, but strangely he is still on video. Having made the bold step to lose Burton's iconic voice, it seems strange not to go the whole way and have the narrator on stage as part of the action. It means that awkward interactions continue between those on stage and the hologram narrator.

Despite all the changes cosmetically, the music remains fundamentally the same and that is after all what made Jeff Wayne's album so successful. There is an unnecessary spoken introduction featuring the aliens on Mars discussing their invasion, seemingly around a cup of tea, and a short play featuring a couple of amateur astronomers that add nothing to the show, while the second half begins with a weird conversation between the narrator and lost love Carrie, which is not in the book or the original album - and shouldn't be included here either.

While the cast may seem a strange collection of reformed troubled singers and E-listers, the quality of performances is stunning. Marti Pellow, Jason Donovan and the surprisingly impressive Ricky Wilson all perform their songs with relish, while Will Stapleton's Thunder Child is the outstanding moment of the evening. Pellow's take on Forever Autumn and Wilson's energetic Brave New World are noteworthy, while the explosive finale is both impressive and humorous.

Given the success of these tours, 33 years on there is obviously still real interest in Wayne's unique classic album and the O2 is packed to the rafters with young and (it has to be said mostly) old. Perhaps some scaling back to basics might help future tours though, as the show feels a touch bloated and over-indulgent, losing some of its original charm.]]>A Magical Time Machine: Dreamboats and Petticoatstag:www.huffingtonpost.com,2012:/theblog//3.20671202012-11-02T16:34:02-04:002013-01-02T05:12:01-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
Set in 1961, the storyline centres around the coming of age of teenagers Laura and Bobby, who have a mutual love for music and possibly each other. Set in a youth club, there are song writing competitions, broken hearts, fights, bumper car rides and a hugely energetic soundtrack. To be honest though, the storyline is almost irrelevant. It creates a spine, but otherwise what carries the show is the dancing, singing and laughing.

Almost as soon as the lights go down the energy is infectious, as the hugely talented cast rattle through a greatest hits of the late fifties and early sixties. Even if you are not a fan of rock and roll, you will still find yourself tapping your feet along to classics like The Wanderer, Bobby's Girl and Great Pretender, played by the band on stage. What is impressive is the quality of signing right across the cast, with even the lesser roles shining.

The pace never lets up and the laughs come from some good comedy timing and nice splashes of hindsight fun poking at bankers. The lead stars here, David Ribi (Bobby) and Samantha Dorrance (Laura) are faultless, as is the stunning Susannah Allman as the initial love interest Sue, who lights up the stage early on. By the end, even the most reserved of the audience are on their feet.

Tonight's show features a special appearance too, from current X Factor star Ella Henderson. For one little girl at the interval, who gets her autograph and picture, it makes for a special night but for almost everyone else her presence is a mere distraction. Her appearance on stage only goes to highlight how far she has to go to become a 'professional' performer. One thing is certain the show she has come to see, certainly does have the X Factor.]]>Music Buying Made Difficulttag:www.huffingtonpost.com,2012:/theblog//3.15259812012-05-17T19:13:14-04:002012-07-17T05:12:20-04:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
Does no one buy CDs in the U.S. anymore? Probably not. But why is that? Has a lack of demand meant no supply or has a lack of supply meant an end to demand?

It got me thinking that perhaps the music industry wanted us to move to download all along, rather than buy a hard copy. It's cheaper to produce and easier to deliver after all. So are the constant cries of poor sales for CDs from the industry just a smokescreen to what they actually wanted? An end to CDs?

But I'm just being cynical according to HMV spokesman Gennaro Costaldo. He says he doesn't think the industry has deliberately steered people away from CDs towards downloads as such - not least because even now CD albums still represent a major chunk of their revenue that they can ill do without.

"However," he says "while the Industry has certainly done its best to embrace the Internet and the opportunities it presents, including through the way the charts are increasingly presented, I suspect that in its haste to be seen to be progressively embracing it, parts of it have also unwittingly helped to undermine the perceived value and desirability of the CD and hastened its long-term decline.

"If that's the case then that would be a real pity as there are still a lot of music fans that like the idea of buying and collecting physical product - and perhaps making a digital copy which means they can have the best of both worlds. As a retailer we always firmly believe that consumers should be free to decide for themselves and not have a choice imposed upon them.

"We find that when you give people choice they tend to respond to it - just lately, for example, we have seen a small resurgence of interest in vinyl, which has encouraged HMV to introduce the format back into a number of its stores. If demand is there, then the Industry should help nurture and respond to it."

Despite what Gennaro says, as with all technology, I have a growing feeling of being pushed towards a 'choice'. HD is better, 3D is apparently better - but all more expensive in whatever field, and requiring outlaying more cash to replace redundant systems. It's a sign of the corporate and capitalist world in which we live and you either go along like a lemming, or stop and say 'no I don't want forced choice' I want my choice.

My love of music means I download a lot but also want hard copies too of albums I really like. I probably buy more music as a result of downloads and the stats would back that up to some degree, with singles sales at record levels because of downloads. But while digital music sales account for 25% of total music sales in the UK, the industry continues to suffer from declining sales of physical formats, with singles down 27% year on year to £6.9m and albums down 14.5% to £863m. Could that be because there are less places to go to buy them. Yes supermarkets stock the mainstream stuff BUT proper music choice is quickly vanishing from the High Street.

My view is the industry has wanted this to happen and in pushing us towards download, failed to fully work out how to maximise revenue. The artists get my sympathy but not the industry as a whole. It made enough hay while sun was shining quite frankly.

So is there a place for music retailers in the UK I rather cheekily asked Gennaro from our last remaining High Street name.

"We absolutely believe there is such a place for indie and specialist stores and chains. Out and out record stores are sadly becoming harder to sustain - although there are some notable and wonderful exceptions, as we saw recently with Record Store Day, but shops with broader entertainment offers that also incorporate film and games can still play a vital role on the high street - especially at peak gifting times of the year such as Christmas.

"That doesn't mean that retailers shouldn't look to continually improve their offer to customers to remain relevant in a changing popular culture landscape, and at HMV we have been diversifying into new product categories to reflect the way people increasingly discover and consume entertainment content, such as through personal technology devices, including tablets and smart phones, speakerdocks and headphones.

"If the high street suffers then so, in all likelihood, will our communities - so we all have a vested interest in supporting our local independent and specialist stores - so long, of course, as they continue to provide the right service."

Gennaro argues well and is closer to it all than me but my cynical side believes consumers are more often than not sold choice when in fact we are getting, is exactly what the big machines want us to have. It's not much to ask for a proper choice.

After all, all I wanted was to buy a CD in New York!]]>Libya: Seeking the Truth?tag:www.huffingtonpost.com,2011:/theblog//3.10261152011-10-22T14:06:56-04:002011-12-22T05:12:02-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
On reflection I got to thinking about what being a journalist these days really does mean. After all, the tectonic plates in the world of media have shifted significantly since I learnt the trade, with the Internet not just moving the goalposts but completely ripping up the rules of the game. Mobile phones with cameras means we hear a lot about 'people journalism', with much of the footage shown on breaking stories coming from YouTube.

To illustrate this, we had the Libya developments this week. Footage of the moments before and after Colonel Gaddafi's death were shown on TV, not of course filmed by professional crews but on mobile phones. Much of this footage appeared first on the internet and before the BBC, Sky News or ITN chose to show it, they had to verify the pictures and then weigh up whether to broadcast them. But in the rolling-news cauldron there is a pressure to find the best pictures first and get them to air before your rival.

'Citizen journalism' is all well and good, and certainly a very powerful way to get insight into a story; take the London riots as an example. But the expert news teams at the BBC, Sky News and ITN are the filters for the multitude of material claiming to be from these events. Years of experience allows them to make decisions on what should or should not be shown. This is what marks broadcast media apart from the internet.

And this brings me back to 'the truth'. At the very heart of showing the pictures of the moments surrounding Gaddafi's death was the need to understand what really happened. Never did I hear a colleague say "that's a great bloody picture, use that". Of course there is a question of taste and decency, but what one person thinks is fine, another may disagree with. That is far more subjective. But getting to the truth of Gaddafi's death was perhaps made easier by releasing these pictures. Now questions are raised by the United Nations and an investigation may follow. So perhaps that grumpy old cynic inside me is wrong. Perhaps journalists do spend most days ultimately seeking the truth.
]]>Stinker Tailortag:www.huffingtonpost.com,2011:/theblog//3.9952302011-10-04T19:57:21-04:002011-12-04T05:12:07-05:00David Spencerhttp://www.huffingtonpost.com/david-spencer/
It is not that Tinker is a bad film. It is well directed and well acted. But also, dare I say it, quite dull. While the plot does not require Mensa like brainpower it is slightly complicated. It is made more confusing by the almost suffocating amount of smoke (no mirrors) and the distinct lack of dialogue. Rather than pull you in, the movie holds you at arms length as you observe this clandestine world of espionage.

I never saw the TV adaptation, but I guess that over several episodes, the programme would have had the advantage of being able to build the tension and establish the characters of the leading players. Here you feel no attachment to Smiley because of Gary Oldman's cold performance and you don't get close to any of the others either.

I should make it clear that my viewing was slightly spoilt by someone telling me who the spy was before I saw it. However the big reveal is extremely underwhelming and never really explained. Tinker is the perfect example of a 'critics' film. These are the movies that get the writers salivating because they do all the right things; good acting, direction and a solid storyline. In fact, that's a minimal requirement really and all we said on leaving the cinema was "that was well filmed and acted", thereafter our conversation stopped. The film didn't entertain enough for there to be anything else to say.

Much of the discussion around this film was whether Tinker is a victory for the thinking-man's film over the over the top blockbusters of the last two decades. Sadly it is not. Too often films really on special effects to entertain, forgetting the necessity of a plot and characters to love or hate. But Tinker is like the Mona Lisa; you have a sense of it being good but you don't know why. With Tinker, I am not sure if it can even be called good.]]>